Scan 442
The violin: its famous makers and their imitators, 1875
6 lines. Read by computer on 1 October 2026. Printed page 292. See the scan on archive.org.
1in Fiddle connoisseurship. It is very amusing to note the pile of nothings that these persons heap up under the name of "guiding points" in relation to Fiddles. I will endeavour to call to mind a few of these. I will begin with those little pegs seen on the back of Violins near the button, and at the bottom; the position of these 'airy nothings without habitation or name,' is deemed indisputable evidence of certain makers' handicraft. One is supposed to have put his pegs to the right, another to the left; another used three, four, and so on. I have frequently heard this remark—"Oh! it cannot be a Stradiuarius, because the pegs are wrong!"
3The purfling also forms an important item in the wiseacres, collection of landmarks; certain makers are supposed to have invariably used one kind of purfling, no variation being allowed for width or material adopted. Original instruments are pronounced spurious, and spurious original, by this test. All Fiddles purfled with whalebone are dubbed "Jacobs," and no other maker is credited with using such purfling.
5The back of a Violin is another very important item with these individuals. Particular makers are supposed to have only made whole backs, others double backs, others again are thought to be known only by the markings of the wood. There is another crotchet to be mentioned. Some will tell you they will inform you who made your Violin by taking the belly off, and examining the shape of the
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